The Paper Magician, by Soojung Choi
I really like riddles. What’s more fun than wordplay, engaging with some cryptic poetry and turning it over and over until it lines up at precisely the right angle and you see the obvious solution that’s been staring you in the face the whole time? I’ve got good memories of a car trip I took with some friends twenty years ago where we killed four or five hours just swapping riddles – somehow I almost stumped everybody with the hoariest of old chestnuts, you know, the whole “a rich man needs it, the poor have more of it than they know what to do with” one, except after fifteen minutes one of my friends looked out the window at a storm-cloud and said “that looks like the Nothing” (you know, from Neverending Story – I told you this was a long time ago) and that shook the answer loose.
That’s the rub, though. Riddles are a good way to pass the time with friends, so you’ve got someone to bounce ideas off of and nothing better to be doing – plus it’s also no big deal if you can’t guess one right, since that just gives someone bragging rights and you can move on to the next one (assuming you’re not going to be a sore loser, skulk after them in an unsuccessful attempt to reclaim their prize, then ultimately bite off the finger of their second cousin once removed). In a piece of IF, they’re a high-stakes design element because these forgiving bits of scaffolding disappear: sure, they can go gangbusters, but a distressingly large percentage of the time, if the player doesn’t immediately figure it out, they’re going to grimly stare at it, fail to get any good ideas, try a couple more options, then dispiritedly have recourse to the walkthrough and feel bad about the whole process.
So yeah, if you’re going to have your game hinge on riddles, it’s good to be mindful of the dangers. And also, for the love of God, don’t make the text entry boxes case-sensitive.
Right, now that that’s off my chest we can talk about Paper Magician. This is a short choice-based game where you play a test subject bent on escaping from the lab where they’re confined so they can finally see the things they’ve only read about in books, like the sky. It’s a premise that could be played many different ways, and the game opts for a fairy-tale take. It opens with an extended sequence where you meet a disembodied spirit in a dream who promises to help you escape if you can make them a body – for you have the power to conjure the things you draw or write about into reality. This is a neat idea, and when the writing stays grounded in the protagonist’s perspective, it can be compelling, like this bit where you fantasize about what escape could mean:
The sensation of placing my hand against a river’s current, running across a field, petting a griffin’s fur. I’ve only truly experienced breathing, the touch of a cold wall, the brush of paper, and the thin solid form of a pencil in my hand.
I like that it’s unclear whether griffins are real in this world, or if, since you only know about what you’ve read in your few books, you just don’t know that they’re mythological. On the other hand, the prose can also feel muddled and vague. Like, it took me a longer time to come to grips with the actually-fairly-simple map of the compound because of stuff like this:
I see two doors, each one on opposite walls, marked West and South.
Wait, west and south are opposite?
This became a bigger issue as I started to dig into the meat of the game, which involves investigating a few rooms in the lab for clues about the experiments being conducted on you. Like, I’m pretty familiar with video game tropes, but I struggled to make sense of stuff like this:
As the source of all magic in this world, the Dragon of Origins is omnipresent in different forms. However, it has a core form, within the depths of this world. If we can draw out the core and then implant it into Subject 0013, then it can become our personal reserve of magic.
If it was just a matter of digging into optional ~lore~, I’d have shrugged and moved on, but actually the player needs to understand this stuff to reach the endgame. The final area of the lab is sealed with four locks, each of which poses a particular question about what the scientists are up to and requires an answer to be typed into the waiting text box. So yeah, they’re riddles. While two of the questions were straightforward to figure out, the other two felt substantially more open-ended, and susceptible to several different legitimate answers. For example, one asks what the subject is going to become, which seems to refer to this extract from one of the documents I found:
Raise and control the subject as our new god. Harness its power as it becomes our own new reserve of magic. A living reservoir.
Another document also uses the phrase ”figurehead god” to refer to this idea. So I tried that, as well as ”new god”, “living reservoir”, “reserve of magic”, and permutations of all of these. Turns out the answer was just ”god”, but either the hint needed to be much clearer, or alternate solutions should have been accepted. And here’s where the case-sensitivity comes in, because actually that doesn’t work either; it needs to be capitalized. This is the point where I went scurrying for the walkthrough with a frown on my face. It didn’t need to be this way – I’d actually gotten all of the riddles mostly right – but this overly-strict design turned what could have been an engaging, albeit diegetically unjustified, opportunity for the player to demonstrate their understanding of the backstory before entering the endgame into a frustrating exercise in reading the author’s mind.
Said endgame does pick up a bit; the scenario as a whole is fairly underdeveloped (I would have liked to see more uses for the protagonist’s cool magic abilities, and better integration of the backstory elements into the narrative once they figure out what’s going on), and the story just goes exactly where you think it’s going to go given the setup, but it still finishes on a nice note of catharsis. Still, my opinion on riddles remains unchanged: a lovely game to play among friends, but outside of that, they’re a dangerous business.
